/ 


PS 3503 









































































































































DENISON’S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free. 
Price 15c each. Postpaid, Unless Different Price Is Given 


M. F. 


DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. F. 

Aaron Boggs, Freshman, 3 

acts, 2)4 hrs.(25c) 8 8 

Abbu San of Old Japan, 2 acts, 

2 hrs.(25c) 15 

After the Game, 2 acts, 1 )4 

hrs.(25c) 1 9 

All a Mistake, 3 acts, 2 hrs. 

(25c) . 4 4 

All on Account of Polly, 3 acts, 

2}A hrs.(25c) 6 10 

American Hustler, 4 acts, 2)4 

hrs.(25c) 7 4 

As a Woman Thinketh, 3 acts, 

2)4 hrs.(25c) 9 7 

At the End of the Rainbow, 3 

acts, 2)4 hrs.(25c) 6 14 

Bank Cashier, 4 acts, 2 hrs. 

(25c) .. 8 4 

Black Heifer, 3 acts, 2 h. (25c) 9 3 

Boy Scout Hero, 2 acts, 1)4 hrs. 

(25c) .17 

Brookdale Farm, 4 acts, 2)4 

hrs.(25c) 7 3 

Brother Josiah, 3 acts, 2 hrs. 

(25c) . 7 4 

Burns Rebellion, 1 hr.... (25c) 8 5 

Busy Liar, 3 acts, 2)4 h. (25c) 7 4 

Civil Service, 3 acts, 2\ 4 hrs. 

(256 . 6 5 

College Town, 3 acts, 2)4 

hrs.(25c) 9 8 

Danger Signal, 2 acts, 2 hrs.. 7 4 
Daughter of the Desert, 4 

acts, 2)4 hrs.(25c) 6 4 

Deacon Dubbs, 3 acts, 2*4 hrs. 

(25c) . 5 5 

Deacon Entangled, 3 acts, 2 hrs. 

(25c) . 6 4 

Down in Dixie, 4 acts, 2*4 

hrs.(25c) 8 4 

* Dream That Came True, 3 

• acts, 2)4 hrs.(25c) 6 13 

.» Editor-in-Chief, 1 hr. ...(25c) 10 

Enchanted Wood, 1)4 h.(35c).Optnl. 
Everyyouth, 3 acts, 1 )4 h. (25c) 7 6 
Face at the Window, 3 acts, 2 

.hrs.(25c) 4 4 

Fun on the Podunk Limited, 

1 V 2 hrs.(25c) 9 14 

Heiress of Hoetown, 3 acts, 2 

hrs.(25c) 8 4 

Her Honor, the Mayor, 3 acts, 

2 hrs. ....(25c) 3 5 

High School Freshman, 3 acts, 

2 hrs. (25c) 12 

Honor of a Cowboy, 4 acts, 2 x /-> 

hrs.'.(25c) 13 

Indian Days, 1 hr.(50c) 5 


In Plum Valley, 4 acts, 2)4 

hrs.(25c) 6 4 

Iron Hand, 4 acts, 2 hrs.. (25c) 5 4 
Jayville Junction, 1% hrs. (25c) 14 17 
Kicked Out of College, 3 acts, 

2% hrs.(25c) 10 9 

Kingdom of Heart’s Content, 3 

acts, 2)4 hrs.(25c) 6 12 

Laughing Cure, 2 acts, 1)4 hrs. 

(25c) .*. 4 5 

Lexington, 4 acts, 2)4 h. .(25c) 9 4 
Little Buckshot, 3 acts, 2)4 hrs. 

(25c) . 7 4 

Lodge of Kye Tyes, 1 hr. (25c) 13 
Man from Borneo, 3 acts, 2 

hrs.(25c) 5 2 

Mirandy’s Minstrels. . . . (25c) OptnI. 
Mrs. Tubbs of Shantytown, 3 

acts, 2)4 hrs.(25c) 4 7 

New Woman, 3 acts, 1 hr.... 3 6 
Old Maid’s Club, 1)4 hrs. (25c) 2 16 
Old Oaken Bucket, 4 acts, 2 

hrs.(25c) 8 6 

Old School at Hick’ry Holler, 

1)4 hrs.(25c) 12 9 

On the Little Big Horn, 4 acts, 

2% hrs.(25c) 10 4 

Out in the Streets, 3 acts, 1 hr. 6 4 
Parlor Matches, 2 acts, 1)4 hrs. 

(25c) . 4 5 

Poor Married Man, 3 acts, 2 

hrs.(25c) 4 4 

Prairie Rose, 4 acts, 2)4 h. (25c) 7 4 

Rummage Sale, 50 min.4 10 

Rustic Romeo, 2 acts, 2)4 

hrs.(25c) 10 12 

Savageland, 2 acts, 2)4 hrs. (50c) 5 5 
School Ma’am, 4 acts, 1)4 hrs. 6 5 
Scrap of Paper, 3 acts, 2 hrs.. 6 6 
Sewing for the Heathen, 40 min. 9 
Southern Cinderella, 3 acts, 2 

hrs.(25c) 7 

Star Bright, 3 acts, 2)4 h. (25c) 6 5 
Teacher, Kin I Go Home? 2 

scenes, 35 min. 7 3 

Those Dreadful Twins, 3 acts, 

2 hrs.(25c) 6 4 

Thread of Destiny, 3 acts, 2)4 

hrs.(25c) 9 16 

Tony, the Convict, 5 acts, 2)4 

hrs._.(25c) 7 4 

Town Marshal, 4 acts, 2)4 

hrs.‘.(25c) 6 3 

Trial of Hearts, 4 acts, 2)4 hrs. 

(25c) . 6 18 

Trip to Storvland, 1)4 hrs.(25c) 17 23 
Uncle Josh, 4 acts, 2)4 hrs. (25c) 8 3 
Linder Blue Skies, 4 acts, 2 

hrs.(25c) 7 10 

Under the Laurels, 5 acts, 2 hrs. 6 4 
When the Circus Came to 

Town, 3 acts, 2)4 hrs. (25c) 5 3 


T. S. DENISON & COMPANY, Publishers, 154 W. Randolph St., Chicago 


































































TOMORROW AT TEN 


A COMEDY 


BY 

LINDSEY BARBEE 

• i 

AUTHOR OF 

‘"After the Game” “All On a Summer’s Day,” “At the End of the 
Rainbow,” “By Way of the Secret Passage,” “The Dream That 
Came True,” “The Fifteenth of January,” “The Kingdom 
of Heart’s Content,” “The Promise of Tomorrow,” 

“Sing a Song of Seniors,” “The Thread of Des¬ 
tiny,” “A Trial of Hearts,” “When the 
Clock Strikes Twelve,” “In the Col¬ 
lege Days,” etc. 



CHICAGO 

T. S. DENISON & COMPANY 

Publishers 

i 






TOMORROW AT TEN 



CHARACTERS. 


CHARACTERS. 


Mr. Marlowe . 
Miss Percivale 


Young Artist 
An Enthusiast 


Place —One Corner of an Art Gallery. 


Time — The Present. 


Time of Playing —About Twenty Minutes. 


STORY OF THE PLAY. 


It is the afternoon of an art exhibit. As the curtain 
rises, a young artist is discussing a picture with the young 
woman beside him, to whom, incidentally, he has just been 
introduced, and whose face, he declares, is familiar, al¬ 
though he cannot exactly place her. He finds her exceed¬ 
ingly intelligent upon the subject of art, and, pleased by 
her enthusiasm, he asks her to accompany him on the fol¬ 
lowing morning to the private exhibition of a famous 
painting. She refuses on- the plea of a previous engage¬ 
ment, which he urges her to break. She replies in a calm 
and matter-of-fact way that it is impossible to alter her 
plans, since at ten o’clock the next day she is to die of her 
own volition. Natural consternation follows and the girl 
«unhesitatingly relates the incidents that have led to this 
decision. In the midst of her companion’s agitation and 
his determination to avert such a tragedy, she declares that 
she is a lady of the films; that the puzzling recognition of 
her is due to the fact that her face is flashed continually 
on the screen and that her so-called “death” is but the 
dramatic climax of a movie, wherein she is the star. 


COPYRIGHT, 1916, BY EBEN H. NORRIS. 




OCT 1 8 1916 "R 











TOMORROW AT TEN. 


3 


COSTUMES. 

Mr. Marlowe —Conventional afternoon attire. 

Mi/ss Percivale —Handsome afternoon gown, hat, gloves, 
etc' She may wear a corsage bouquet and carry a silver 
mesh bag. 


PROPERTIES. 

Round lounge seat if possible—otherwise long lounge 
without back. Straight chair, small table, four pictures in 
heavy -gold frames. Curtains for window, rugs for floor if 
desired. 


Scene Plot. 


Window 



STAGE DIRECTIONS. 

R. means right of the stage; C., center; R. C., right cen¬ 
ter ; L., left; 1 E., first entrance; U. E upper entrance; 
R. 3 E., right entrance up stage, etc.; R.D., right door; 
L.D., left door, etc.; D.F. } door in flat or scene running 
across the back of the stage; upstage, away from foot¬ 
lights; down stage, near footlights; 1 G., first groove, etc. 
The actor is supposed to be facing the audience. 











TOMORROW AT TEN 


Scene: One coma' of an art gallery. Large window 
with heavy drapes, C. in F.; doorway, L. U.E. At C. is 
a round lounge seat. Large gold-framed pictures on wall 
R. and L. of C. in F.; also at positions of R. U. E. and 
R. 2 E. Straight chair between R. U. E. and R. 2 E. 
Small table L. 2 E. Rugs for floor if desired. Stage is 
well illuminated. 

As the curtain rises Mr. Marlowe and Miss Percivale 
are standing L. U. E., gazing at picture R. U. E. 

Mr. Marlowe. From here, Miss Percivale, the light 
upon the picture is perfect. 

Miss Percivale (after a pause). It’s wonderful, isn't 
it? There’s a life, a power, a vitality about Schreyer’s paint¬ 
ings which is quite indescribable. 

Mr. Marlowe (inclining his head toward picture). 
Splendid majesty about those Arab fellows. 

Miss Percivale. Especially the one on the courier 
steed. 

Mr. Marlowe (with interest). Which is the courier 
steed ? 

Miss Percivale ( indicating ). The one with drooping 
head—his very attitude speaks fatigue. 

Mr. Marlowe. You have an amazing eye for details. 
Perhaps you have studied art? 

Miss Percivale. Never. Pm merely a lover of it, Mr. 
Marlowe, not a student. There’s a vast difference in the 
two attitudes. 

Mr. Marlowe (indicating the lounge). .Won’t you be 
seated? (Miss Percivale seats herself on L. of lounge. 
Mr. Marlowe crosses to R. and draws out chair.) But 
cannot these attitudes, as you call them, he combined in one 
person? (Seats himself.) 

Miss Percivale. Undoubtedly. But not in me. The 
very moment that my eye is forced to be critical, that I am 

4 



TOMORROW AT TEN. 


5 




made to regard the technicalities of the canvas, the soul of 
the picture—or whatever it is that passes into me—ceases 
to exist. 

Mr. Marlowe. Yet understanding, it seems, should 
bring a keener pleasure in contemplation. 

Miss Percivale. Only a keener, technical pleasure. A 
picture, Mr. Marlowe, is a tonic to me, and if the tonic 
itself is effectual, why consider each separate ingredient? 

Mr. Marlowe ( indicating picture • R.U.E.). Would 
you call that a tonic? 

Miss Percivale (glancing at it). A bracing one. Taken 
after a long, weary, discouraging day, it would infuse new 
vigor, strengthen ambition and inspire the beholder with a 
feverish desire to be ‘hip and doing.” 

Mr. Marlowe. But suppose it were taken after a long 
and exciting day, wouldn’t such a dose be a trifle too 
strenuous ? 

Miss Percivale. Decidedly. I shouldn’t think of im¬ 
bibing. Pd turn instead to a lovely, peaceful Corot and let 
myself down. This pastoral view (rises and zvalks to R. 
2 E.) in its sweet serenity and with its suggestion of wood¬ 
land beauties would calm the most deranged nervous sys¬ 
tem. (Gazes thoughtfully at picture R. 2 E.) 

Mr. Marlowe (rising and standing at back of chair). 
You have pretty theories, Miss Percivale. 

Miss Percivale. Here in* materialistic America one 
must needs theorize upon art.. 

Mr. Marlowe. You should live in the land across the 
sea, where the commonest peasant stands enraptured before 
a masterpiece and pauses in his work to behold the chang¬ 
ing beauty of a sunset. 

Miss Percivale (turning from picture). And where 
the waifs of the street whistle the strains of grand opera 
instead of the latest ragtime. Why is it, I wonder? 

Mr. Marlowe. There’s — there and here’s— here. I’ll 

dispose of your question easily if not coherently. 

Miss Percivale. I’ve often wondered why only the 
fresh, vivid tints of spring appeal to people. There is so 




6 


TOMORROW AT TEN. 


much subtle harmony in a gray day—and yet we are too 
busy anticipating the weather or lamenting the sun to ob¬ 
serve the melody of subdued color. 

Mr. Marlowe ( abruptly ). Have I met you before today, 
Miss Percivale? 

Miss Percivale. I think not. I have no recollection of 
an introduction. 

Mr. Marlowe. Your face is so familiar—it tantalizes 
me. One moment I think I have my finger upon you— 
metaphorically speaking—the next you have quite escaped. 

Miss Percivale (laughing). What a will-o’-the-wisp! 
And how interesting I sound! Doubtless you have passed 
me in the street. (Seats herself on R. of lounge.) 

Mr. Marlowe (shaking his head). It isn’t that sort of 
a memory. It’s the kind that comes all of a sudden—that 
makes you feel that—years ago—you met the person— 
talked with her— (leans toward her over hack of chair). 

Miss Percivale. Why not? The theory of transmigra¬ 
tion has a fascination which argues possibility. (Gayly.) 
Was I a court lady, a beggar girl, or just a plain, every¬ 
day person? 

Mr. Marlowe. I can’t imagine you as a plain, every¬ 
day person. 

Miss Percivale (seriously). I wish I were. I wish I 
could be just myself. That sounds strange to you, doesn’t 
it? And it will sound stranger when I say that I am never 
the same. One day I wear regal robes, the next my clothes 
are in tatters. Sometimes I am a happy, light-hearted girl; 
again I am steeped in all the tragedy and woe of the world. 
I run the gamut of every emotion; I am a creature of 
moods, of fancies, of—call it what you will. (Rises, crosses 
to L. and stands with back to audience, looking at picture 
L. of C. in F.) 

Mr. Marlowe (follozving her). You’ve a whimsical 
way of looking at this work-a-day world—of peopling it 
with creations of your own. (At her right.) Don’t you 
ever stump your toe and fall out of this realm of unreality? 

Miss Percivale (turning to him). More times than 


TOMORROW AT TEN. 


7 


I’d like to acknowledge. (As she looks through the door- 
Zi'ay.) Dear me! Almost everyone has gone. ( Hurries to 
window, pushes back draperies and looks out.) And it’s 
fast growing dark. My forgetting the approach of night, 
Mr. Marlowe, is a tribute to your ability as a conversa¬ 
tionalist. 

Mr. Marlowe ( gazing out window). This sombreness 
of atmosphere ought to appeal to you. “A common gray¬ 
ness silvers everything/’ 

Miss Percivale ( lingering at window). It’s beautiful— 
and I do love it. I wonder if any artist has been clever 
enough to discover the green grays, the pink grays and the 
lavender grays—and to blend them harmoniously. 

Mr. Marlowe. What would you say if I were to tell 
you of the existence of just such a canvas? 

Miss Percivale. I’d ask you to substantiate your state¬ 
ment. 

Mr. Marlowe. Very well; I’ll do so. Just such a treas¬ 
ure hangs in the studio of an artist friend. He leaves to¬ 
morrow night for New York—so, will you do the canvas 
the honor of beholding it—well—we’ll say tomorrow at 
ten ? 

Miss Percivale (after a moment). I’m sorry, but I 
can’t. 

Mr. Marlowe. Some other engagement? 

Miss Percivale. Only with myself. 

Mr. Marlowe. Then break it; one’s self is easily pro¬ 
pitiated. 

Miss Percivale. But—“to thine own self be true.” 

Mr. Marlowe. There are exceptions to every rule, Miss 
Percivale. This is one of them. ( Pleadingly.) Do come. 

Miss Percivale. You can’t understand just how much 
I want to say yes. 

Mr. Marlowe. Then say it. Impulses are good things 
to trust. 

Miss Percivale ( shaking her head). I can’t—I can’t. 

Mr. Marlowe. This engagement is only with yourself, 
you say? 


8 


TOMORROW AT TEN. 


Miss Percivale. Only with myself. 

Mr. Marlowe. Is it so important that it cannot be 
broken—or postponed? 

Miss Percivale ( seriously ). So important that it is 
inevitable. 

Mr. Marlowe. Why, you’re looking almost tragic over 
it! 

Miss Percivale. Why shouldn’t I ? 

Mr. Marlowe. Why should you? 

Miss Percivale. But you don’t understand. (She 
walks slowly to L. of lounge.) 

Mr. Marlowe (following her). Won’t you tell me, then? 

Miss Percivale (turning her head). Would you really 
like to know? 

Mr. Marlowe (standing hack of her). It’s my supreme 
wish. 

Miss Percivale (calmly gazing straight before her). 
Then listen. My reason for refusing your invitation, Mr. 
Marlowe—for insisting upon this strange tryst with my¬ 
self—is this. I am scheduled—to die—tomorrow at ten. 

Mr. Marlowe (in horror). Miss Percivale! 

Miss Percivale (without turning). I'll repeat my last 
statement—it’s a little difficult to comprehend. I am sched¬ 
uled—to die—tomorrow at ten ! 

Mr. Marlowe (after a pause). I don’t understand. 

Miss Percivale (turning her head). I didn’t expect 
you to understand. 

Mr. Marlowe. You are joking with me. 

Miss Percivale. I was never more serious. 

Mr. Marlowe. You cannot be in earnest. 

Miss Percivale. Death is hardly a subject to trifle with. 

Mr. Marlowe (standing at her left). Such a proceed¬ 
ing is impossible. 

Miss Percivale (gazing directly at him). It’s not only 
possible, but unavoidable. 

Mr. Marlowe. I can’t believe you. 

Miss Percivale. I’m not forcing you to do so. I am 
merely stating the truth. 


TOMORROW AT TEN. 


9 


Mr. Marlowe ( impulsively ). Then you are—( hesitates ) 

Miss Percivale. No, I’m not mad, if that’s what you 
are thinking. My eyes are quite sane, are they not? {He 
nods.) My hand is quite steady. ( Holds out her hand 
which he takes for a moment.) My mind is quite clear. I 
am fully aware of the step which I am taking. 

Mr. Marlowe {quickly). You mean— 

Miss Percivale. That I do this of my own accord. 
Tomorrow morning, as is my custom, I shall drive my car 
along the pretty road which runs by the river. You will 
remember that the path gradually rises and that, at the 
highest point, there is an overhanging bluff. I shall leave 
my car and wander to the edge of this bluff. The gorgeous 
autumn foliage will attract me. I shall lean over to grasp 
a spray—and then—who will ever know the real reason 
for it all! 

Mr. Marlowe {in horror). You really intend to do this 
horrible thing? 

Miss Percivale. I am quite determined. 

Mr. Marlowe. It is not too late to— 

Miss Percivale. Oh, yes, it is. Remember, I am tell¬ 
ing you this in confidence. You have no right to betray 
me, or to interfere in the slightest way with the plans I’ve 
been making for weeks. 

Mr. Marlowe. But I shall make it my right. 

Miss Percivale {coolly). You—a stranger? 

Mr. Marlowe. Do you think any man would stand 
aside and not raise a finger to prevent your carrying out 
this mad scheme? 

Miss Percivale. I think that before he asserted him¬ 
self he would at least listen to my story. 

Mr. Marlowe. Will you tell it—to me? 

Miss Percivale. Why not? It will help, I think, to share 
the burden, and now—at the very last—there is no reason 
to conceal it longer. {She seats herself at front of lounge. 
He sits at her left.) I am preparing for the operatic 
stage, Mr. Marlowe. I should say I was preparng. My 
voice had great possibilities, and my master, a tenor whose 


10 


TOMORROW AT TEN. 


name you would immediately recognize, had staked much 
upon my future career. I interested him—first as a pos¬ 
sible artist, then as a woman. The inevitable happened— 
we became engaged. 

Mr. Marlowe. Is this not painful for you to relate? 

Miss Percivale. It is a relief. 

Mr. Marlowe. Then—I am listening. 

Miss Percivale. My sister came to New York—to be 
with me. She is very beautiful, very wonderful, and from 
the time he looked upon her I think my fate was sealed. I 
tried not to notice. I tried to believe otherwise, but one 
day I overheard—• 

Mr. Marlowe ( interrupting ). And you’re making this 
sacrifice for them? 

Miss Percivale. Wait. Pm not so wholly unselfish as 
that. What I am doing is done mostly for myself. 

Mr. Marlowe. For yourself! 

Miss Percivale. A month ago Fate dealt me a. still 
heavier blow. She took away my voice. I was at my daily 
practice and suddenly I could not utter a note. I rested 
for a few days, then tried again, with the same result. The 
most eminent specialist of the country told me that I would 
never sing again. 

Mr. Marlowe ( covering her hand). I’m sorry—sorrier 
than I can say. 

Miss Percivale. I told no one, pleaded fatigue, and 
came on here—to get my bearings. After due consider¬ 
ation the matter will be settled—tomorrow at ten. 

Mr. Marlowe (rising). You shall not do it. It’s ridic¬ 
ulous—unnecessary. 

Miss Percivale (rising). Listen. Have you regarded 
the situation from my standpoint? If I marry I ruin my 
own life, that of my sister, and that of the man to whom 
I am engaged. I realize now that my charm lay in my 
voice and its possibilities. Without that I— 

Mr. Marlowe (angrily). He’s a cad—a— 

Miss Percivale. Oh, no; he isn’t. He’s an honorable 
man and he would never willingly release me from my 


TOMORROW AT TEN. 


♦ 11 

promise. You can see, T think, that marriage is quite im¬ 
possible. (He slightly inclines his head.) 

Mr. Marlowe. But life holds many other things for 
you. 

Miss Percivale. When the one thing is gone—forever? 
No, Mr. Marlowe, discussion is quite useless. I have 
chosen my way out of the difficulty, and while it may he a 
pagan way, a cowardly way—perhaps not the right way—- 
it’s my way—and that’s all. (Walks to R. U. E. and ponses 
with back to audience.) 

Mr. Marlowe (dropping his head on hand). I seem 
quite powerless to speak—to think—to act. Somehow I 
feel that the whole story is unreal—that in the healthy, 
wholesome sunshine of tomorrow it will be hut a hideous 
dream of yesterday. 

Miss Percivale (turning). Mr. Marlowe. 

Mr. Marlowe (without looking at her). Yes? 

Miss Percivale. After much digression we revert to 
the original question. You asked me, I believe, to accom¬ 
pany you to a friend's studio—tomorrow at ten. I have 
told you—at length—why I cannot do that; but if.you care 
to change the appointment for the afternoon, I shall be glad 
to go with you. 

Mr. Marlowe (starting up). What do you mean? (Be¬ 
wildered.) I don't understand. 

Miss Percivale (coming down stage). Poor Mr. Mar¬ 
lowe! This is the last thrill I'll impose upon you, I prom¬ 
ise. (Lavs hand on his arm.) Listen once more. I told 
vou, did I not, that I am a creature of fancy ; that some¬ 
times I am one person, oftentimes another? Tis all true. 
For Pm Jane Percivale of the films. My face has been 
flashed before you thousands of times. That’s why you 
think you’ve met me—why— 

Mr. Marlowe (eagerly). And the story? 

Miss Percivale. Is just one I’m acting—that’s all. The 
temptation to put myself in a dramatic situation was too 
great. I yielded—and you really believed me guilty of the 
foolish things I told. 


12 « 


TOMORROW AT TEN. 


\ 


Mr. Marlowe ( seizing both her hands). So you’re not 
an opera singer? 

Miss Percivale {laughing) . Can’t sing a note. 

Mr. Marlowe. And you’re not engaged ? 

Miss Percivale. Hardly. 

Mr. Marlowe. And you wouldn’t walk oft* that bluff? 

Miss Percivale. Except in a picture. Not much. 
People don't make such foolish, useless sacrifices, Mr. Mar¬ 
lowe, except in story books and “movies.” 

Mr. Marlowe {releasing her hands). I feel like an¬ 
other man. The horror, the uncanniness of it all was be¬ 
ginning to tell on my nerves—and— 

Miss Percivale {laughing). Poor man! It was cruel of 
me, I admit. As a reward for tolerating my dramatic tem¬ 
perament, come with me in the morning to see me do it. I’ll 
leave you in the car, I’ll gather the spray of foliage just 
as I said I'd do—and the dummy will do the rest. 

Mr. Marlowe {eagerly). You really want me? 

Miss Percivale. I really do. Promise that you’ll be 
with me—tomorrow at ten. {She holds out her hand — 
he takes it.) 


Curtain. 


DENISON'S ACTING PLAYS 

Price 15 Cents Each, Postpaid, Unless Different Price Is Given 


M. F. 

Wide Enough for Two, 45 min. 5 2 


Wrong Baby, 25 min. 8 

Yankee Peddler, 1 hr. 7 3 


VAUDEVILLE SKETCHES, MON¬ 
OLOGUES, ETHIOPIAN PLAYS. 

Ax’in’ Her Father, 25 min.... 2 3 
Booster Club of Blackville, 25 m. 10 
Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min. 2 1 

Colored Honeymoon, 25 min... 2 2 
Coon Creek Courtship, 15 min. 1 1 

Coming Champion, 20 min.... 2 
Coontown Thirteen Club, 25 m. 14 

Counterfeit Bills, 20 min. 1 1 

Darktown Fire Brigade, 25 min. 10 
Doings of a Dude, 20 min.... 2 1 

Dutch Cocktail, 20 min. 2 

For Reform, 20 min. 4 

Fresh Timothy Hay, 20 min.. 2 1 
Glickman, the Glazier, 25 min. 1 1 

Good Mornin’ Judge, 35 min. . 9 2 

Her Hero, 20 min. 1 1 

Hey, Rube! 15 min.. 1 

Home Run, 15 min. 1 1 

Jumbo Jum, 30 min. 4 3 

Little Red School House, 20 in. 4 

Love and Lather, 35 min. 3 2 

Marriage and After, 10 min.. 1 

Memphis Mose, 25 min. 5 1 

Mischievous Nigger, 25 min.. 4 2 

Mistaken Miss, 20 min. 1 1 

Mr. and Mrs. Fido, 20 min.... 1 1 

Oh, Doctor! 30 min.. .. 6 2 

One Sweetheart for Two, 20 m. 2 
Oshkosh Next Week, 20 min.. 4 

Oyster Stew, 10 min. 2 

Pete Yansen’s Gurl’s Moder, 10m. 1 
Pickles for Two, 15 min..... 2 
Pooh Bah of Peacetown, 35 min. 2 2 
Prof. Black’s Funnygraph, 15 m. 6 

Sham Doctor, 10 min. 4 2 

Si and I, 15 min. 1 

Special Sale, 15 min. 2 

Stage Struck Darky, 10 min.. 2 1 
Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min. 1 1 

Tramp and the Actress, 20 min. 1 1 

Troubled by Ghosts, 10 min... 4 
Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min.. 3 
Umbrella Mender, 15 min.... 2 

Uncle Jeff, 25 min. 5 2 

What Happened to Hannah, 15m. 1 1 


Winning Widow, 2 acts, V/ 2 lirs. 

(25c) . 2 4 

Women Who Did, 1 hr... (25c) 17 

Yankee Detective, 3 acts, 2 hrs. 8 3 

FARCES, COMEDIETAS, Etc. 


All on a Summer’s Day, 40 min. 4 6 

April Fools, 30 min. 3 

Assessor, The, 10 min. 3 2 

Baby Show at Pineville, 20 min. 19 
Billy’s Chorus Girl, 25 min... 2 3 

Billy’s Mishap, 20 min. 2 3 

Borrowed Luncheon, 20 min.. 5 
Borrowing Trouble, 20 min.... 3 5 
Case Against Casey, 40 min...23 

Country Justice, 15 min. 8 

Cow that Kicked Chicago, 20 m. 3 2 

Divided Attentions, 35 min. 1 4 

Dude in a Cyclone, 20 min.... 4 2 

Family Strike, 20 min. 3 3 

First-Class Hotel, 20 min_ 4 

For Love and Honor, 20 min.. 2 1 
Fudge and a Burglar, 15 min.. 5 
Fun in Photo Gallery, 30 min.. 6 10 


Great Medical Dispensary, 30 m. 6 
Great Pumpkin Case, 30 min.. 12 
Hans A’on Smash, 30 min.... 4 3 
I’m Not Mesilf at All, 25 min. 3 2 
Initiating a Granger, 25 min.. 8 
Irish Linen Peddler, 40 min... 3 3 
Is the Editor In? 20 min... 4 2 
Kansas Immigrants, 20 min... 5 1 


Men Not Wanted, 30 min.... 8 

Mike Donovan’s Courtship, 15 m. 1 3 

Mother Goose’s Goslings, 30 m. 7 9 
Mrs. Jenkins’ Brilliant Idea, 35m. 8 

Mrs. Stubbins’ Book Agent, 30 m. 3 2 
My Wife’s Relations, 1 hr.... 4 6 
Not a Man in the House, 40 m. 5 

Pair of Lunatics, 20 min. 1 1 

Patsy O’Wang, 35 min. 4 3 

Pat, the Apothecary, 35 min.. 6 2 
Persecuted Dutchman, 30 min. 6 3 
Regular Fix, 35 min. 6 4 


Second Childhood, 15 min.... 2 2 

Shadows, 35 min. 2 2 

Sing a Song of Seniors, 30 min. 7 


Taking Father’s Place, 30 min. 5 3 

Taming a Tiger, 30 min. 3 

That Rascal Pat, 30 min. 3 2 

Those Red Envelopes, 25 min. 4 4 
Too Much of a Good Thing, 45 

min. 3 6 

Turn Him Out, 35 min. 3 2 

Two Aunts and a Photo, 20 m. 4 
Two Gentlemen in a Fix, 15 m. 2 
Two Ghosts in White, 20 min. . 8 

Two of a Kind, 40 min. 2 3 

Uncle Dick’s Mistake. 20 min.. 3 2 
Wanted a Correspondent, 45 m. 4 4 
Wanted a Hero, 20 min. 1 1 


A great number of 
Standard and Amateur Plays 
not found here are listed In 
Denison's Catalogue 


T. S. DENISON & COMPANY, Publishers,154W. Randolph St., Chicago 






























































library of congress 


POPULAR ENTERTAIN 


Price, Illustrated Paper Covers 



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SimiiaDSrisDofc 



T SDENISON & COMPANY 

PUBLISHERS -BXCXii CHICAGO 


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ar 


this Series 
re found 
books touching 
every feature 
in the enter¬ 
tainment field. 
Finely made, 
good p a p e r, 
cleai print and 
each book has 
an attractive 
individual cov¬ 
er design. 


A Partial List 

DIALOGUES 


All Sorts of Dialogues. 

Selected, fine for older pupils. 

Catchy Comic Dialogues. 

Very clever; for young people. 
Children’s Comic Dialogues. 

From six to eleven years of age. 
Country School Dialogues. 

Brand new, original. 

Dialogues for District Schools. 

For country schools. 

Dialogues from Dickens. 

Thirteen selections. 

The Friday Afternoon Dialogues. 

Over 50,000 copies sold. 

From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Djalogues. 

For older ones. 

Little People’s Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 

Wide Awake Dialogues. 

Original successful. 


SPEAKERS, MONOLOGUES 


Choice Pieces for Little People. 

A child’s speaker. 

The Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish. Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 

The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 
Clever, humorous, original. 


Monolc 
Dr; 

Scrap- 

Choice collections, pathetic, hu¬ 
morous, descriptive, prose, 
poetrv. 15 Nos., per No. 25c 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys’ Entertainer. 

Monologues, dialogues, drills. 
Children’s Party Book, 

Invitations, decorations, games. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Sunday Schools. 

Dialogues, exercises, recitations. 
Good Things for Thanksgiving. 
A gem of a book. 

Good Things for Washington 
and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 

One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

•Entirely original features. 
Pranks and Pastimes. 

Parlor games for children. 
Private Theatricals. 

How to put on plays. 

Shadow Pictures, Pantomimes, 
Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; fot all ages. 
Twinkling Fingers and Sway¬ 
ing Figures. For little tots. 
Yuletide Entertainments. 

A choice Christmas collection. 


MINSTRELS, JOKES 

Black American Joker. 

Minstrels’ and end men’s gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland, via the Ha-Ha Route. 

A merry trip for fun tourists. 
Negro Minstrels. 

All about the business. 

The New Jolly Jester. 

Funny stories, jokes, gags, etc. 


Large Illustrated Catalogue Free 


T.S. DENISON & COMPANY, Publishers,154W. Randolph St., Chicago 


0015 863 892 7 0 














































